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The Renaissance 0
The fundamental principle  will be that all steps of learning should be sought from Nature;  the means of perfecting our art  will be found in diligence,  study, and application. – Leone Battista Alberti 0
Introduction ,[object Object],[object Object]
The Renaissance ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The Renaissance   Artistic Periods ,[object Object],[object Object],[object Object],[object Object]
15th-Century  Northern Painting ,[object Object],[object Object],[object Object],[object Object]
LIMBOURG BROTHERS. “May” from  Les Très Riches Heures du Duc de Berry  (1416). Illumination. 8   7⁄8 ” x  5   3⁄8 ” .
The Limbourg Brothers ,[object Object],[object Object],[object Object],[object Object],[object Object]
ROBERT CAMPIN.  Merode Altarpiece: The Annunciation with Donors and St. Joseph , (c. 1425–1428). Oil on wood. Center: 24   1⁄4 ” x  24   7⁄8 ” ; Wings: each 25   3⁄8 ” x  10   7⁄8 ” .
Robert Campin,  the Master of Flémalle ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
JAN VAN EYCK.  Giovanni Arnolfini and His Bride  (1434). Oil on wood. 33 ” x  22   1⁄2 ” .
Jan van Eyck ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
German Art ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
MATTHIAS GRÜNEWALD.  The Crucifixion,  center panel of  The Isenheim Altarpiece  (exterior) (completed 1515). Oil on panel. 8 ’ 10 ” x  10 ’ 1 ” .
ALBRECHT DÜRER.  Adam and Eve  (1504). Engraving, 4th state. 9   7⁄8 ” x  7   5⁄8 ” .
ALBRECHT DÜRER.  Knight, Death, and Devil   (15 13) . Engraving, 9   7⁄8 ” x  7   5⁄8 ” .
The Renaissance in Italy ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
CIMABUE.  Madonna Enthroned  (c. 1280–1290). Tempera on wood panel. 12 ’ 7 ” x  7 ’ 4 ” .
GIOTTO.  Madonna Enthroned  (c. 1310). Tempera on wood panel. 10 ’ 8 ” x  6 ’ 8 ” .
The Renaissance begins,  and so does the Competition ,[object Object],[object Object],[object Object],[object Object],[object Object]
FILIPPO BRUNELLESCHI.  Sacrifice of Isaac  (1401–1402). Gilt bronze. 21 ” x  17   1⁄2 ” .
LORENZO GHIBERTI.  Sacrifice of Isaac  (1401–1402). Gilt bronze. 21 ” x  17   1⁄2 ” .
Early Renaissance Artists ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
DONATELLO.  David  (1408). Bronze. H: 5 ’ 2 ” .
Florence Cathedral (Gothic, begun 1368 CE).   Dome by Brunelleschi.
FILIPPO BRUNELLESCHI. Construction of the cathedral dome, Florence (1420–1436).
MASACCIO.   Holy Trinity, Santa Maria Novella, Florence   (c. 1428).  Fresco. 21 ’ x  10 ’ 5 ” .
Renaissance Artists Mid-Century and Beyond ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
ANDREA DEL VERROCCHIO.  David  (c. 1470). Bronze. H: 49   5⁄8 ” .
PIERO DELLA FRANCESCA.  Resurrection  (c. late 1450s). Fresco. 7 ’ 5 ” x  6 ’ 6   1⁄2 ” .
Renaissance Artists  ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
SANDRO BOTTICELLI.  The Birth of Venus  (c. 1486). Tempera on canvas. 5 ’ 8   7⁄8 ” x  9 ’ 1   7⁄8 ” .
SANDRO BOTTICELLI.  The Birth of Venus  (detail)  c. 1486 .  Tempera on canvas. 5 ’ 8   7⁄8 ” x  9 ’ 1   7⁄8 ” .
LEON BATTISTA ALBERTI. Palazzo Rucellai, Florence (1446–1451).
The High Renaissance  ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
LEONARDO DA VINCI.   Madonna of the Rocks   (c . 1483). Oil on panel, transferred to canvas. 78   ½ ” x  48 ” .
LEONARDO DA VINCI.  The Last Supper  (1495–1498). Fresco (oil and tempera on plaster). 13 ’ 9 ” x  29 ’ 10 ” .
LEONARDO DA VINCI.   Human Proportions .  Journal drawing
LEONARDO DA VINCI.   Mona  Lisa  (c .1501 ). Oil on panel
RAPHAEL.  The School of Athens  (1510–1511). Fresco. 26 ’ x  18 ’ .
MICHELANGELO. The Sistine Chapel in the Vatican, Rome (1508–1512). 5,800 sq. ft.
MICHELANGELO.  The Creation of Adam   (1508–1512).  Detail from the ceiling of the Sistine Chapel in the Vatican, Rome.
M ICHELANGELO.  David   (1501–1504). Marble. H: 13   1⁄2 ’ .
GIANLORENZO BERNINI.  David  (1623). Marble. H: 6 ’ 7 ” .
High and Late Renaissance in Venice ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
TITIAN.  Venus of Urbino   (1538). Oil on canvas. 47 ” x  65 ” .
TINTORETTO.  The Last Supper  (1592–1594). Oil on canvas. 12 ’ x  18 ’ 8 ” .
High and Late Renaissance Outside Italy ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
EL GRECO.  The Burial of Count Orgaz  (1586). Oil on canvas. 16 ’ x  11 ’ 10 ” .
PIETER BRUEGHEL THE ELDER.  The Peasant Wedding  (1568). Oil on wood.  45 ” x  64   1⁄2 ” .
Mannerism ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
JACOPO PONTORMO.  Entombment  (1525–1528). Oil on panel. 10 ’ 3 ” x  6 ’ 4 ” .
Discussion Questions: ,[object Object],[object Object],[object Object],[object Object]

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The Renaissance

  • 2. The fundamental principle will be that all steps of learning should be sought from Nature; the means of perfecting our art will be found in diligence, study, and application. – Leone Battista Alberti 0
  • 3.
  • 4.
  • 5.
  • 6.
  • 7. LIMBOURG BROTHERS. “May” from Les Très Riches Heures du Duc de Berry (1416). Illumination. 8 7⁄8 ” x 5 3⁄8 ” .
  • 8.
  • 9. ROBERT CAMPIN. Merode Altarpiece: The Annunciation with Donors and St. Joseph , (c. 1425–1428). Oil on wood. Center: 24 1⁄4 ” x 24 7⁄8 ” ; Wings: each 25 3⁄8 ” x 10 7⁄8 ” .
  • 10.
  • 11. JAN VAN EYCK. Giovanni Arnolfini and His Bride (1434). Oil on wood. 33 ” x 22 1⁄2 ” .
  • 12.
  • 13.
  • 14. MATTHIAS GRÜNEWALD. The Crucifixion, center panel of The Isenheim Altarpiece (exterior) (completed 1515). Oil on panel. 8 ’ 10 ” x 10 ’ 1 ” .
  • 15. ALBRECHT DÜRER. Adam and Eve (1504). Engraving, 4th state. 9 7⁄8 ” x 7 5⁄8 ” .
  • 16. ALBRECHT DÜRER. Knight, Death, and Devil (15 13) . Engraving, 9 7⁄8 ” x 7 5⁄8 ” .
  • 17.
  • 18. CIMABUE. Madonna Enthroned (c. 1280–1290). Tempera on wood panel. 12 ’ 7 ” x 7 ’ 4 ” .
  • 19. GIOTTO. Madonna Enthroned (c. 1310). Tempera on wood panel. 10 ’ 8 ” x 6 ’ 8 ” .
  • 20.
  • 21. FILIPPO BRUNELLESCHI. Sacrifice of Isaac (1401–1402). Gilt bronze. 21 ” x 17 1⁄2 ” .
  • 22. LORENZO GHIBERTI. Sacrifice of Isaac (1401–1402). Gilt bronze. 21 ” x 17 1⁄2 ” .
  • 23.
  • 24. DONATELLO. David (1408). Bronze. H: 5 ’ 2 ” .
  • 25. Florence Cathedral (Gothic, begun 1368 CE). Dome by Brunelleschi.
  • 26. FILIPPO BRUNELLESCHI. Construction of the cathedral dome, Florence (1420–1436).
  • 27. MASACCIO. Holy Trinity, Santa Maria Novella, Florence (c. 1428). Fresco. 21 ’ x 10 ’ 5 ” .
  • 28.
  • 29. ANDREA DEL VERROCCHIO. David (c. 1470). Bronze. H: 49 5⁄8 ” .
  • 30. PIERO DELLA FRANCESCA. Resurrection (c. late 1450s). Fresco. 7 ’ 5 ” x 6 ’ 6 1⁄2 ” .
  • 31.
  • 32. SANDRO BOTTICELLI. The Birth of Venus (c. 1486). Tempera on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 7⁄8 ” .
  • 33. SANDRO BOTTICELLI. The Birth of Venus (detail) c. 1486 . Tempera on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 7⁄8 ” .
  • 34. LEON BATTISTA ALBERTI. Palazzo Rucellai, Florence (1446–1451).
  • 35.
  • 36. LEONARDO DA VINCI. Madonna of the Rocks (c . 1483). Oil on panel, transferred to canvas. 78 ½ ” x 48 ” .
  • 37. LEONARDO DA VINCI. The Last Supper (1495–1498). Fresco (oil and tempera on plaster). 13 ’ 9 ” x 29 ’ 10 ” .
  • 38. LEONARDO DA VINCI. Human Proportions . Journal drawing
  • 39. LEONARDO DA VINCI. Mona Lisa (c .1501 ). Oil on panel
  • 40. RAPHAEL. The School of Athens (1510–1511). Fresco. 26 ’ x 18 ’ .
  • 41. MICHELANGELO. The Sistine Chapel in the Vatican, Rome (1508–1512). 5,800 sq. ft.
  • 42. MICHELANGELO. The Creation of Adam (1508–1512). Detail from the ceiling of the Sistine Chapel in the Vatican, Rome.
  • 43. M ICHELANGELO. David (1501–1504). Marble. H: 13 1⁄2 ’ .
  • 44. GIANLORENZO BERNINI. David (1623). Marble. H: 6 ’ 7 ” .
  • 45.
  • 46. TITIAN. Venus of Urbino (1538). Oil on canvas. 47 ” x 65 ” .
  • 47. TINTORETTO. The Last Supper (1592–1594). Oil on canvas. 12 ’ x 18 ’ 8 ” .
  • 48.
  • 49. EL GRECO. The Burial of Count Orgaz (1586). Oil on canvas. 16 ’ x 11 ’ 10 ” .
  • 50. PIETER BRUEGHEL THE ELDER. The Peasant Wedding (1568). Oil on wood. 45 ” x 64 1⁄2 ” .
  • 51.
  • 52. JACOPO PONTORMO. Entombment (1525–1528). Oil on panel. 10 ’ 3 ” x 6 ’ 4 ” .
  • 53.